1. Session Four Major Independents Dr. Richard Nowell Department of Film Studies and Audiovisual Culture Masaryk University

2. 16:10 – 18:05 Dirty Dancing (1987) 18:05 – 18:10 Break 18:10 – 19:15 Mini-Majors & Major Independents

3. To what extent does Dirty Dancing feel like a Hollywood movie? In what ways does Dirty Dancing bear the hallmarks of so-called High Concept filmmaking? In what ways does Dirty Dancing utilize elements associated with the Hollywood Renaissance?

5. Overview of Output of Major Independents Independent High Concept The extent to which major independents challenge distinctions between independents and Hollywood

6. Reflecting on the course thus far, what are the three broad categories into which contemporary American cinema tends to be organized? What are their dominant characteristics?

7. Corporate Hollywood Mass Audience Family-friendly Big Budget Spectacle-focused Plot-driven Thematically weak Multi-media Event status Harmless Entertainment

8. Visionary filmmakers Sophisticated Audience Adult-oriented Moderately budgeted Thematically rich Visually challenging Theatrically viewed Pet-projects Less well known Intellectually stimulating

9. Entrepreneurial hacks Low brow audience Cheap Visually sloppy Thematically weak Low rent exhibition Get-rich quick Obscure Titillating/salacious

11. What conditions led to a brief boom in non- Hollywood US commercial film making and distribution in the mid-to-late 1980s?

12. Newly established delivery systems New Revenue streams Replace drive-ins/grind houses Complement theatrical release

13. Ta rgeted by surviving 70s exploitation companies Lucrative until market saturation in mid-80s Demand for Content Hollywood initially reluctant Retailers want theatrical hits

14. Why did most of the new independent companies disappear quickly, and what helped some to survive a little bit longer?

15. High-risk/high gain Hollywood safety nets: Back Catalogue (revenue stream) Parent Company (Bailout) Independents have neither!! Need ongoing success to survive Cannot absorb failure

16. Having read the work of both Perren and Wyatt, and from being part of global film culture, what impression do you have about Miramax?

17. Focus on Art Cinema Dimension ignored Over-emphasis of films Art Cinema credentials Reinforces distinctions from Hollywood Obscures exchange and interaction

20. Established 1978 as Satellite producer for Warner Bros. Goes solo in 1982, enjoying huge success, 1985-1987 Encounters troubled times 1988-89 when films flop Sells international rights to films to Sony Hits cannot offset weak films and no international revenue Downsizes hugely after 1992

22. To what extent does Dirty Dancing feel like a Hollywood movie? In what ways does Dirty Dancing bear the hallmarks of so-called High Concept filmmaking? In what ways does Dirty Dancing utilize elements associated with the Hollywood Renaissance?

23. High production values Hollywood Genre model (kind of) stars Soundtrack High-concept montages Themes evoking renaissance

24. What other than its content would have helped to make Dirty Dancing appear to be a Hollywood film?

25. Dirty Dancing Opening Credit Sequence: http://www.youtube.com/watch?v=ziywOFXLiVM She’s Like the Wind Montage Sequence: http://www.youtube.com/watch?v=mR6vJHJkJhU Patrick Swayze &Wendy Fraser, “She’s Like the Wind”, Video Clip: http://www.youtube.com/watch?v=lU9p1WRfA9whttp://www.youtube.com/watch?v=lU9p1WRfA9w Bill Medley and Jennifer Warnes, “(I had) the Time of my life”, video clip: http://www.youtube.com/watch?v=QUoDaCH1MJMhttp://www.youtube.com/watch?v=QUoDaCH1MJM

26. Does A Nightmare on Elm Street 4: The Dream Master feel like an independent film to you?

27. Wide Openings Merchandizing Musical tie-ins Cross media presence Huge Publicity drive Freddy Krueger as “Star”

28. A Nightmare on Elm Street 4: The Dream Master Clip: http://www.youtube.com/watch?v=gYJCd7UGhFI Vinnie Vincent Invasion, Love Kills http://www.youtube.com/watch?v=CHSm-VohsNY MTV Special, September 1988, (7:40 – 8:50) http://www.youtube.com/watch?v=21xj9MYS-FY

29. Mid-1980s, seen as a cutting edge of Hollywood practice Is really a cluster of trends scattered across films; Few if any Hollywood films exhibit all traits of high concept Enables independents to frame films as Hollywood product Earliest truly HC films emerge from the independent sector Distances films from exploitation product

30. Out High Concepted Hollywood Set new high water mark Emphasized potential of HC Fulfillment of HC in Hollywood Template for Batman (1989) and Dick Tracy (1990) Villains as marketing hooks

31. Progress in early 90s 1993: Time Warner Star vehicles in mid- 90s Big Budget Franchises in late-90s Blockbuster Franchise in 2000s

32. Unlike exploitation independents, major independents sought to face off with Hollywood directly by releasing similar films Whereas the makers and marketers of independent spirit films distanced their films from imagined mainstream, major independents often evoked exaggeratedly imagined mainstream Despite enjoying some success, lack of parent company and back catalogue prevented major independents from absorbing commercial failure